ave previously taken special notice of what I now have an image of. For instance, when I have an image of a certain person I cannot tell his particular characteristics unless my attention was formerly directed to them.' "Another writes: 'There is no sound in connection with any image. In remembering, I call up an incident and gradually fill out the details. I can very seldom recall how anything sounds. One sound from the play "Robespierre," by Henry Irving, which I heard about two years ago and which I could recall some time afterward, I have been unable to recall this fall, though I have tried to do so. I can see the scene quite perfectly, the position of the actors and stage setting, even the action of a player who brought out the sound.'
In the preceding volume of this Course, entitled “The Trained Memory,” you learned that the memory process involves four elements, Retention, Recall, Recognition and Imagination; and the scope and operation of two of these elements, Retention and Recall, were explained to you. There remain Recognition and Imagination, which we shall make the subject of this book. We shall treat of them, however, not only as parts of the memory process, but also as distinct operations, with an individual significance and value. Both Recognition and Imagination have to do with mental images.
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